Submission Information:
Series: The Legend of Zelda
Game: The Legend of Zelda: The Minish Cap
Console: Game Boy Advance
Title: Mt. Crenel
Instrumentation Solo Piano
Arranger: NocturneOfShadow (http://forum.ninsheetmusic.org/index.php?action=profile;u=3752)
-Please, please use "L" to flip your note stems. Measures 11 and 12 are illegible.
-In more than a few places, your layers overlap, and badly. Rests should not be on top of notes.
-I feel that the short crescendo is unnecessary.
-Yes, notepad can do text formatting. Please review this (http://forum.ninsheetm.us/index.php?topic=481.0).
-Maybe ask someone with finale to add some 8vb markings.
-It sounds pretty accurate.
Quote from: maelstrom. on November 24, 2014, 09:20:02 AM-Please, please use "L" to flip your note stems. Measures 11 and 12 are illegible.
-In more than a few places, your layers overlap, and badly. Rests should not be on top of notes.
-I feel that the short crescendo is unnecessary.
-Yes, notepad can do text formatting. Please review this (http://forum.ninsheetm.us/index.php?topic=481.0).
-Maybe ask someone with finale to add some 8vb markings.
-It sounds pretty accurate.
I'm not sure how to fix the rests and overlaps. But I can do everything else.
Not sure if it works on notepad, but L is the shortcut for flipping note stems. You may need to push it once for each note in the bar.
To change where the rest is, select it and push the up or down arrow to reposition it.
Nocturne's first arrangement! Not bad. Not bad.
I don't want to rob you of the joy of self-evaluation, so instead of overhauling this myself (as has been my manner with some), I'm going to give you some pointers:
1.) Listen through the original song very carefully, and write in those harmonies you missed. They really bring a lot to the OOMPH of the C dorian (that's right it's not minor!). Some specific places include measures 1-4 (the long string tones), m. 12 (the sycopated trumpet line), m. 17-18 (string backings behind the melody), and elsewhere.
2.) This is a quick fix. Clean up the LH ostinato a bit. There are places where the Eb in the upper layer of it don't gel with the voices in the RH, and when it does fit in the harmonic framework, it's still texturally very gritty (not a good thing). It's an interpretation of the percussion after all, so IMO I'd say just omit the Eb entirely.
3.) Kinda along the same vein as maelstrom, the organization of the layers needs attention. I'm pretty sure Notepad will let you flip stems with L. There are a few places where you could easily clean up the cluttered feel by combining everything into one layer (ex: measure 5).
Quote from: Bespinben on November 24, 2014, 04:15:45 PMNocturne's first arrangement! Not bad. Not bad.
I don't want to rob you of the joy of self-evaluation, so instead of overhauling this myself (as has been my manner with some), I'm going to give you some pointers:
1.) Listen through the original song very carefully, and write in those harmonies you missed. They really bring a lot to the OOMPH of the C dorian (that's right it's not minor!). Some specific places include measures 1-4 (the long string tones), m. 12 (the sycopated trumpet line), m. 17-18 (string backings behind the melody), and elsewhere.
2.) This is a quick fix. Clean up the LH ostinato a bit. There are places where the Eb in the upper layer of it don't gel with the voices in the RH, and when it does fit in the harmonic framework, it's still texturally very gritty (not a good thing). It's an interpretation of the percussion after all, so IMO I'd say just omit the Eb entirely.
3.) Kinda along the same vein as maelstrom, the organization of the layers needs attention. I'm pretty sure Notepad will let you flip stems with L. There are a few places where you could easily clean up the cluttered feel by combining everything into one layer (ex: measure 5).
1) I picked up on that :D I just put the key signature in G minor because I didn't see a need to natural every single A. But I will look through the harmony again.
2)Personally I feel like the "grittiness" as you called it sort of brings out the feel of scaling a rough crenellated mountain, but if you think the Eb doesn't work as well as I do then I guess I can change that.
3) I'll work on that, I swear!!
Maybe I'm just weird like that but I like the Eb in the ostinato :P
(I'll also try not to be too specific, because as bespinben said, self-evaluation is great, and super important for improving as an arranger! But I'll mostly just be omitting pitch-specific instructions, because there are certain things I can see being hard to figure out without being told. The pitches, I'm sure you can hear if you know where to listen for it.)
On the Eb in the ostinato: Ehhhhh. I had to listen to the original to be sure, but yeah, that's very harmonically misleading. It's strange to include a pedal note where there wasn't originally one, let alone a whole triad (well, the dyad is really what isn't there). It'd be one thing if what you're emulating had a distinct, yet not specifically tuned pitch (such as a tom tom), but when emulating snare, it's best not to interfere with the harmony at all. It's not just the Eb that I'd change, to be honest; it may not be apparent from what you've notated, but that G is clashing even more with the harmony than the Eb is (the Eb could be written off as a seventh; the G is a ninth, in the original harmony!) Definitely reconsider that percussion interpretation to go along with the actual harmony. The harmony will be much clearer once you fix the second note in the timpani line; it changes to a different note every two measures up until measure 17 (and in the measures where it would be different, it's especially important, because it's the root of the chord).
Some more specific things:
-This one's actually a pretty glaring issue for not having been pointed out yet; you're missing an entire measure before it repeats back to measure 5.
-As far as layers and stem direction go, while 11 and 12 are super messy, it's at least kinda clear what's meant. Measures 5 and 6, however, are in need of a little more help. While the rules of tying notes versus using the full value can get pretty messy, here's a general guideline to go by: only cross a note over the center of a measure if it both starts on and ends on a beat. This means that half notes started on beat 2, as well as dotted half notes started on beat 1 or 2, are fine. However, a dotted quarter note initiated on beat 2 is pretty nonstandard, and especially confusing to read with all of this layering going on. Change that G in the right hand in measure 5 to a quarter note tied to an eighth note. Hell, I'd recommend putting that entire measure in one layer; not only is it silly to extend a note for one sixteenth note, but it's played by a trumpet, so it's definitely not extended in the original, anyways.
-For measure 6, it seems like you're assuming that readers will interpret rhythms of each staff direction as being completely separate, but in reality, this measure looks like a lot of things, but 4/4 isn't one of them :P Here's how I would write that measure:
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FZOR9n6h.png&hash=bf87b9df2106723ba943ec035264e92c14df29b0)
It may be slightly misleading in terms of voice leading, but it's the only way I can think of that makes it clear to somebody sight-reading the piece what that rhythm is supposed to be. The problem before was that A: it wasn't clear that the half note G was supposed to be played during, not at the end of, the dotted half note before it, and B: it wasn't clear that the upward-stemmed triplet was supposed to be played during the downward-stemmed half note before it.
How to do this and avoid a bunch of annoying stem flipping stuff: Write the two G half notes in layer one, and the rest in layer two.
-Measures 7 and 8, if you're going to hold the trumpet and horn lines out to full duration in measures 5 and 6 (and I'm glad you did!), you should do it here, too.
-Measures 9-10, make sure that both the trumpet and the horn are present in the RH. They each have different half notes all the way through both measures.
-Measure 11, you might wanna listen to this again in the original. It remains in the same amount of voices, so I'm kind of confused about the whole notes. Just write the trumpet and horn lines in two layers, you won't have to deal with all that three-layer headache, haha. And make sure that the rhythms in beats 1 and 2 (RH) are the same as one another; you may want to rethink both the rhythm and the pitches for that triplet.
-As bespinben said, definitely fill out the harmonies where you're emulating the strings. It may also illuminate the harmony discrepancy with the timpani that I mentioned earlier.
-Back to the timpani line:
This may be complicated to implement with your percussion imitation (which, by the way, I really like the way you did it, aside from the harmonies). But, the motion of the timpani is initially an upward one. This may seem insignificant, seeing as octave displacement is pretty easy for most listeners to do, but doing it with the bassline is essentially inverting the chord. This may be a modal piece, so it isn't bound entirely to classic tonality, but it's still a very stark difference from the original to have the "tonic" chord in second inversion (fifth is in the bass). It weakens the strength of the constant low "C", which in turn weakens the strength of the Dorian mode. This is slightly offset by the fact that it's articulated on a weak beat, but it's still kind of problematic. Try doing it as an upward motion, and see what you can do to incorporate the snare imitation on top of that.
-Try adding some articulation. I won't say where (partly out of apathy), but there are some things that could really use staccato markings.
-Just realized, that second timpani note should be a dotted quarter tied to a half note, not the other way around. Remember, unless it's one of those situations I mentioned, make sure that the center of the measure is clearly shown.
-Try changing the ostinato a bit for measure 17-18, because in the original, it's definitely a different feel from the rest of the piece.
-This is going to be the most subjective suggestion I make in this entire post: If you want a note that doesn't change from harmony to harmony, C is the only one that works, and this would strengthen the pitch center.
Overall, despite my thorough nitpickiness (even when I said I wouldn't be that specific; at least I left pitch-specifics for you to figure out :P), this is a pretty good first arrangement. It's especially hard because you went with incorporating percussion that is essentially pitchless; it was a very good move, but very hard to pull off (and you're very close! Just fit it within the harmonies :P).
Oh boy xD I'll look through this when I have time and no company, my changes should all be done Sunday/Monday :D
And thank you!
PROGRESS
Quote from: maelstrom. on November 24, 2014, 09:20:02 AM-Please, please use "L" to flip your note stems. Measures 11 and 12 are illegible.fixed
-In more than a few places, your layers overlap, and badly. Rests should not be on top of notes.fixed
-I feel that the short crescendo is unnecessary.fixed lol
-Yes, notepad can do text formatting. Please review this (http://forum.ninsheetm.us/index.php?topic=481.0).lower priority, but getting to it
-Maybe ask someone with finale to add some 8vb markings.done
-It sounds pretty accurate.hopefully a bit more now
Quote from: Bespinben on November 24, 2014, 04:15:45 PMNocturne's first arrangement! Not bad. Not bad.
I don't want to rob you of the joy of self-evaluation, so instead of overhauling this myself (as has been my manner with some), I'm going to give you some pointers:
1.) Listen through the original song very carefully, and write in those harmonies you missed. They really bring a lot to the OOMPH of the C dorian (that's right it's not minor!). Some specific places include measures 1-4 (the long string tones), m. 12 (the sycopated trumpet line), m. 17-18 (string backings behind the melody), and elsewhere.almost fixed
2.) This is a quick fix. Clean up the LH ostinato a bit. There are places where the Eb in the upper layer of it don't gel with the voices in the RH, and when it does fit in the harmonic framework, it's still texturally very gritty (not a good thing). It's an interpretation of the percussion after all, so IMO I'd say just omit the Eb entirely.meshes better
3.) Kinda along the same vein as maelstrom, the organization of the layers needs attention. I'm pretty sure Notepad will let you flip stems with L. There are a few places where you could easily clean up the cluttered feel by combining everything into one layer (ex: measure 5).fixed
Below, Fierce says not to be too specific and writes a dissertation:
Quote from: FierceDeity on November 26, 2014, 10:39:17 PM(I'll also try not to be too specific, because as bespinben said, self-evaluation is great, and super important for improving as an arranger! But I'll mostly just be omitting pitch-specific instructions, because there are certain things I can see being hard to figure out without being told. The pitches, I'm sure you can hear if you know where to listen for it.)
On the Eb in the ostinato: Ehhhhh. I had to listen to the original to be sure, but yeah, that's very harmonically misleading. It's strange to include a pedal note where there wasn't originally one, let alone a whole triad (well, the dyad is really what isn't there). It'd be one thing if what you're emulating had a distinct, yet not specifically tuned pitch (such as a tom tom), but when emulating snare, it's best not to interfere with the harmony at all. It's not just the Eb that I'd change, to be honest; it may not be apparent from what you've notated, but that G is clashing even more with the harmony than the Eb is (the Eb could be written off as a seventh; the G is a ninth, in the original harmony!) Definitely reconsider that percussion interpretation to go along with the actual harmony. The harmony will be much clearer once you fix the second note in the timpani line; it changes to a different note every two measures up until measure 17 (and in the measures where it would be different, it's especially important, because it's the root of the chord).partly fixed, still having trouble hearing a change lol
Some more specific things:
-This one's actually a pretty glaring issue for not having been pointed out yet; you're missing an entire measure before it repeats back to measure 5.fixed
-As far as layers and stem direction go, while 11 and 12 are super messy, it's at least kinda clear what's meant. Measures 5 and 6, however, are in need of a little more help. While the rules of tying notes versus using the full value can get pretty messy, here's a general guideline to go by: only cross a note over the center of a measure if it both starts on and ends on a beat. This means that half notes started on beat 2, as well as dotted half notes started on beat 1 or 2, are fine. However, a dotted quarter note initiated on beat 2 is pretty nonstandard, and especially confusing to read with all of this layering going on. Change that G in the right hand in measure 5 to a quarter note tied to an eighth note. Hell, I'd recommend putting that entire measure in one layer; not only is it silly to extend a note for one sixteenth note, but it's played by a trumpet, so it's definitely not extended in the original, anyways.currently fixing
-For measure 6, it seems like you're assuming that readers will interpret rhythms of each staff direction as being completely separate, but in reality, this measure looks like a lot of things, but 4/4 isn't one of them :P Here's how I would write that measure:
(https://www.ninsheetmusic.org/forum/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FZOR9n6h.png&hash=bf87b9df2106723ba943ec035264e92c14df29b0)
It may be slightly misleading in terms of voice leading, but it's the only way I can think of that makes it clear to somebody sight-reading the piece what that rhythm is supposed to be. The problem before was that A: it wasn't clear that the half note G was supposed to be played during, not at the end of, the dotted half note before it, and B: it wasn't clear that the upward-stemmed triplet was supposed to be played during the downward-stemmed half note before it.fixed
How to do this and avoid a bunch of annoying stem flipping stuff: Write the two G half notes in layer one, and the rest in layer two.
-Measures 7 and 8, if you're going to hold the trumpet and horn lines out to full duration in measures 5 and 6 (and I'm glad you did!), you should do it here, too.also working on this
-Measures 9-10, make sure that both the trumpet and the horn are present in the RH. They each have different half notes all the way through both measures.fixed
-Measure 11, you might wanna listen to this again in the original. It remains in the same amount of voices, so I'm kind of confused about the whole notes. Just write the trumpet and horn lines in two layers, you won't have to deal with all that three-layer headache, haha. And make sure that the rhythms in beats 1 and 2 (RH) are the same as one another; you may want to rethink both the rhythm and the pitches for that triplet.not fixed, might need more clarification
-As bespinben said, definitely fill out the harmonies where you're emulating the strings. It may also illuminate the harmony discrepancy with the timpani that I mentioned earlier.fixed
-Back to the timpani line:
This may be complicated to implement with your percussion imitation (which, by the way, I really like the way you did it, aside from the harmonies). But, the motion of the timpani is initially an upward one. This may seem insignificant, seeing as octave displacement is pretty easy for most listeners to do, but doing it with the bassline is essentially inverting the chord. This may be a modal piece, so it isn't bound entirely to classic tonality, but it's still a very stark difference from the original to have the "tonic" chord in second inversion (fifth is in the bass). It weakens the strength of the constant low "C", which in turn weakens the strength of the Dorian mode. This is slightly offset by the fact that it's articulated on a weak beat, but it's still kind of problematic. Try doing it as an upward motion, and see what you can do to incorporate the snare imitation on top of that.I'm not sure if it's upward or not but I'll get to it after finishing other stuff
-Try adding some articulation. I won't say where (partly out of apathy), but there are some things that could really use staccato markings.it's very attached and legato and tenuto-y, but I'll try
-Just realized, that second timpani note should be a dotted quarter tied to a half note, not the other way around. Remember, unless it's one of those situations I mentioned, make sure that the center of the measure is clearly shown.working
-Try changing the ostinato a bit for measure 17-18, because in the original, it's definitely a different feel from the rest of the piece.have yet to get to this
-This is going to be the most subjective suggestion I make in this entire post: If you want a note that doesn't change from harmony to harmony, C is the only one that works, and this would strengthen the pitch center.trying it
Overall, despite my thorough nitpickiness (even when I said I wouldn't be that specific; at least I left pitch-specifics for you to figure out :P), this is a pretty good first arrangement. It's especially hard because you went with incorporating percussion that is essentially pitchless; it was a very good move, but very hard to pull off (and you're very close! Just fit it within the harmonies :P).I mean technically all percussive instruments have a pitch it's just their specific timbre that makes it seem pitchless :P but thank you!
Just a quick update to show how far I currently am, I'll upload my changes after finishing all the fixes!
Dropbox works now so I have one; the problem is the Midi and MUS still have 1 bar of rests that I can't seem to delete no matter what I do. Any other advice would be appreciated!
Select the bars (Both treble and bass) and push Ctrl X
It won't let me select them is the problem
I've deleted them before but somehow they came back >.> with a VENGEANCE
Hey,
maybe it is just me, but the midi file is not working (mus is alright, though).
you're right, my bad. I'll try to get a working one up sometime today
OP contains the correct files now!
Quote from: NocturneOfShadow on January 10, 2015, 05:26:44 AMOP contains the correct files now!
Works fine now, thank you!
I think your arrangement is still missing a metronome marking (and the copyright stuff at the bottom). Sorry if this was already mentioned or you intentionally left it out.
Oh, darn, good catch!
I'll get that done sometime tonight :)
Oh yeah the copyright marking is there as well as a tempo recommendation. The last measure is still unclickable so if anybody would like to give that a shot they can.
Otherwise everything should be fixed according to Fierce and Bes
Quote from: NocturneOfShadow on January 13, 2015, 12:03:00 PMOh yeah the copyright marking is there as well as a tempo recommendation. The last measure is still unclickable so if anybody would like to give that a shot they can.
Otherwise everything should be fixed according to Fierce and Bes
I am proud of you, son. Did you make sure to use the new url?!
Uhm... Did you update the version in your first post?
I have no control over the PDF :P
check the MUS
Quote from: NocturneOfShadow on January 13, 2015, 12:13:50 PMI have no control over the PDF :P
check the MUS
Why is the PDF outta controll? MUS looks fine.
Hmmm... you know, if I sent it to my desktop I might be able to turn it into a PDF. But that would require installation of dropbox and I don't know if my PC can handle it
Quote from: NocturneOfShadow on January 13, 2015, 12:22:18 PMHmmm... you know, if I sent it to my desktop I might be able to turn it into a PDF. But that would require installation of dropbox and I don't know if my PC can handle it
Your PC can't handle dropbox? Duh... My GameBoy could handle dropbox.
Your gameboy probably has a higher clocking speed than my PC
Quote from: NocturneOfShadow on January 13, 2015, 12:24:19 PMYour gameboy probably has a higher clocking speed than my PC
Are you using a mac?!
No lol
it's just super worn out from having to contain all the data of 4 kids plus viruses that 2 of those kids accidentally installed
my laptop is like 3 times as fast
oop if you want to you can make a PDF of it :P
but it should probably be someone who can delete that last measure!
Quote from: NocturneOfShadow on January 13, 2015, 12:43:52 PMoop if you want to you can make a PDF of it :P
but it should probably be someone who can delete that last measure!
Ok, I got a Bachelor in computer-science. Let me show you the magic...
The magic:
MTCRENELNSM.pdf (http://www.mediafire.com/view/v7p07a3y9r8w6h9/MTCRENELNSM.pdf)
MTCRENELNSM.mus (http://www.mediafire.com/download/pxoqahcz6k0e40u/MTCRENELNSM.mus)
Damn how to upload as pro as op?!
It's done!
Accept? :D
Quote from: NocturneOfShadow on January 13, 2015, 01:25:35 PMIt's done!
Accept? :D
Arrangement is ok, I guess. But the guy who created that PDF... wow... such skill.
edit: Why did you actually not remove the last measure yourself, lol. I do not understand.
No matter what I did I couldn't destroy it
Brassman, do me next!
Okay, I'm going to give you an option. I can either A) Give you about a two-page dissertation as to what to fix as far as formatting, writing, etc. Or I can B) spend a couple of hours, get back to you tomorrow and show you with a revised sheet.
The choice is yours.
Part of me would like the dissertation to help me get better, but with school starting now I simply won't have time for 2 whole pages (that's 30 posts D: ) Option B would be nice and easier :P and I always have my other arrangements for feedback to get better. But if you do do the revision could you perhaps highlight a few of the bigger changes you made?
This is what I sorta-kinda want it to look and sound. I didn't get to go over a bunch of the trumpet and horn fanfares so, if you would be a dear and check those for me, that would be great.
A lot of what I did was just minimalizing the bass and reworking some of the chord issues and transitions and such.
https://dl.dropboxusercontent.com/u/36750916/Mt%20Crenel.mus
I can post later about specifics, but that'll be later today. Gotta go scrub dat toilet, yo.
OOOH I really like what you did to measure 18!!!
but I feel like there's gotta be a better way to do the ostinato :/ I really miss that ta-ta-tata-ta-ta, you know?
Alright, howabout this one?
https://dl.dropboxusercontent.com/u/36750916/Mt%20Crenel%20v.2.mus
That's it!
Cool. As far as I'm concerned, it's done.
Look over formatting and such and have Deku take a look at it.
Just a thought: with the LH riff, what if you tied the 8th on the and of beat 3 over to beat 4? Just to give a little breathing space, if you catch my drift.
It also then ties in with the rhythm of bar 19.
When it comes to the bass parts, I'm all up for suggestions on how to translate it.
Make the changes, confirm it with Nocturne and get that bad boy on the site.
https://dl.dropboxusercontent.com/u/84117653/Assistance/Mt%20Crenel%20v.2.mus
I think this looks ok. I've still gotta have a fiddle with the layering in bar 6 but I think that's about it.
Brassman what's your arranger name
Why not throw that second run on the bottom staff and indicate that it's being played by the same hand.
https://dl.dropboxusercontent.com/u/36750916/Mt%20Crenel%20v.3.mus
Looking something like this, but the run on top is to not sound as low. That happened as soon as I put the 8vb on it. I guess it effects the whole bar.
Quote from: Brassman388 on February 02, 2015, 01:52:57 PMWhy not throw that second run on the bottom staff and indicate that it's being played by the same hand.
https://dl.dropboxusercontent.com/u/36750916/Mt%20Crenel%20v.3.mus
Looking something like this, but the run on top is to not sound as low. That happened as soon as I put the 8vb on it. I guess it effects the whole bar.
Fancy idea, but I just think it would add confusion, especially because of the 8vb if it actually should affect that run or not. I do not see a problem with the previous version... I would prefer the old one.
Should there really be note barring over rests?
Quote from: Maelstrom on February 02, 2015, 02:12:26 PMShould there really be note barring over rests?
I think that is a question of religious belief... Some people do not like to do it, but I don't think it is a problem...
Seems appropriate to in this situation. It's become a lot more prevalent in modern notation. Otherwise, if you unbarred it, the location of beat 2 in measures 5 and 7 becomes less clear.
(I suppose an alternative would be to write the phrase as a staccato dotted 8th barred with a 16th, but that gives more the impression of the dotted eighth being much shorter than it's intended to be held. With the eighth - 16th rest - 16th route, you get to clearly see how long the eighth should be held).
Quote from: Xaoz on February 02, 2015, 02:01:38 PMFancy idea, but I just think it would add confusion, especially because of the 8vb if it actually should affect that run or not. I do not see a problem with the previous version... I would prefer the old one.
I like the idea of what you did in measure 6, but like Xaoz said, it seems a little off reading the top layer as also being 8vb. Maybe you could keep it in the top staff, and just use a clef change?
Yeah, this is quite a doozy.
No clef changes. It's pretty smooth so far, so we're just going to have to think of something else as far as a solution.
If it has to, if there's absolutely no way to rewrite that bit, we'll keep it the way it is now. But, I'm going to keep tinkering with it.
Quote from: Brassman388 on February 02, 2015, 02:38:39 PMBut, I'm going to keep tinkering with it.
I like this guy.
Quote from: Bespinben on February 02, 2015, 02:23:22 PMI like the idea of what you did in measure 6, but like Xaoz said, it seems a little off reading the top layer as also being 8vb. Maybe you could keep it in the top staff, and just use a clef change?
Best day in my life!
While you're tinkering away, I was wondering what you thought about that polyrhythm at measure 12? Further subdividing the 4 against 3 took me a good few head scratches to finally get right on my Air Piano™. Maybe simplify the left hand a little bit like you did somewhat like you did at measure 21? (Something like... 8th, 8th, quarter... 8th, 8th [so just getting rid of the 16ths in the LH momentarily])
Quote from: Bespinben on February 02, 2015, 03:06:42 PMWhile you're tinkering away, I was wondering what you thought about that polyrhythm at measure 12? Further subdividing the 4 against 3 took me a good few head scratches to finally get right on my Air Piano™. Maybe simplify the left hand a little bit like you did somewhat like you did at measure 21? (Something like... 8th, 8th, quarter... 8th, 8th [so just getting rid of the 16ths in the LH momentarily])
Hmm. There's not much I can do there. I guess that part right there will definitely define the difficulty of the piece.
I think bar 6 would work best just in one layer, reducing the half notes to quarters. I don't think that much is lost writing it that way.
https://dl.dropboxusercontent.com/u/84117653/Assistance/Mt%20Crenel%20v.2.mus
If everyone's happy with this version, it'd be good to move this one along.
shouldn't we have multiple arranger names on it
Who did you want on it?
Didn't all 3 of us do a substantial amount?
I don't put my name on stuff I do for submissions, there's enough of my name around anyway.
As for Brassman, I guess you'd have to ask him.
BRASSMAN
WHERE YOU AT
If someone helps you after you already posted in submissions-forum, then it still stays your very own submission an you should leave it that way. However... In this case... I feel like Brassman just made a completely new piece out of your submission, so maybe you can just mention him like "with help of..." or sth. like that.
Quote from: Deku Trombonist on February 05, 2015, 05:38:42 AM(...)there's enough of my name around anyway. (...)
The modesty!!
Quote from: Deku Trombonist on February 05, 2015, 05:38:42 AMAs for Brassman, I guess you'd have to ask him.
It's no biggie to me, either. I do what I can when I can.
I think it's about time this was accepted.
This submission has been accepted by Deku Trombonist (http://forum.ninsheetmusic.org/index.php?action=profile;u=904).
~Zeta, your friendly NSM-Bot